Creative Writing: A Practical Guide by Julia Casterton (auth.)

By Julia Casterton (auth.)

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But he's not, he's a character in a novel. In the novel I can believe he is saying such things, perhaps because I am hearing his voice in my head, in the privacy of my own mind (I am thinking him) and I am extremely relieved to hear him say them because his words bring to an end a certain kind of conflict between himself and Connie. The only way the conflict can ease is if Connie and Parkin communicate with one another. They may communicate more fully than they would in real life but this is to my advantage as the reader because it increases my relief and my pleasure.

Colette positively revels in them. She often appends two to a single noun (long pink clouds; wet, leathery hydrangea leaves; stiff papery blades) to flesh out, give further fullness to the feeling she wants to call forth in the reader. Another part of Colette's method of making round, making substantial, is her habit of moving backwards and forwards, towards and away from the object. In this piece she starts very near, so near she makes us want to vomit at the sight of the caterpillar, and then she slowly moves away, gaining emotional balance as she gains physical distance.

Laugh at me- I like thee ter laugh at me! But be nice to me, an' dunna be big! For I feel I've got no place in the world, an' no mortal worth to nobody, if not to thee. An' I dunna want ter hate everything. It ma'es me feel as if I'd swallowed poison, an' had a bellyful, in a way. Notice that Parkin is able to say what he truly means only after he has broken into dialect. It is as though Lawrence was acknowledging that it is hard for human beings to say what they feel and that we often have to search for the form of words before we can find the words themselves.

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